R.I.P. George Duke

edthecynic

Censored for Cynicism
Oct 20, 2008
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Mr. Duke, who as a small boy begged his mother to buy him a piano after she took him to see Duke Ellington, began playing professionally at a time when many musicians were interested in blending genres. He played in a trio that backed the singer Al Jarreau while he was still a teenager, then accompanied Dizzy Gillespie and other jazz musicians at clubs in San Francisco. By the early 1970s he had performed and recorded with Adderley, the jazz violinist Jean-Luc Ponty and Zappa’s Mothers of Invention. (His long stint with Zappa included an appearance, with the rest of the band, in the feature film “200 Motels.”)

Zappa “told me one day that I should play synthesizers,” Mr. Duke wrote on his Web site. “It was as simple as that!” Urged by Zappa, he said, he experimented with a few types of synthesizers before settling on the ARP Odyssey, “purely to be different from Jan Hammer, who was playing the Minimoog.” Mr. Hammer was a member of the guitarist John McLaughlin’s Mahavishnu Orchestra, one of the first jazz-rock fusion bands to achieve widespread success.

As a leader, Mr. Duke focused in the middle and late 1970s on groove-oriented funk. His versatility also made him a sought-after collaborator. Working in Rio de Janeiro in 1979, he recorded one of his best-known albums, “A Brazilian Love Affair,” with the singers Milton Nascimento and Flora Purim. He also worked with other major names in fusion, including the drummer Billy Cobham, with whom he was co-leader of a band in the 1970s, and the bassist Stanley Clarke, with whom he formed the Clarke/Duke Project in 1981.

[ame=http://www.youtube.com/watch?v=DELcPiBJjk0]GEORGE DUKE~SOMEDAY - YouTube[/ame]
 
Critics sometimes said that Mr. Duke’s music was too smooth, not challenging enough, and that he was too eager to court a broad audience. He disagreed.


“I really think it’s possible (and still do) to make good music and be commercial at the same time,” Mr. Duke wrote. “I believe it is the artist’s responsibility to take the music to the people. Art for art’s sake is nice; but if art doesn’t communicate, then its worth is negated. It has not fulfilled its destiny.”







Well said! Pop music needs more defenders like this.
 
Critics sometimes said that Mr. Duke’s music was too smooth, not challenging enough, and that he was too eager to court a broad audience. He disagreed.


“I really think it’s possible (and still do) to make good music and be commercial at the same time,” Mr. Duke wrote. “I believe it is the artist’s responsibility to take the music to the people. Art for art’s sake is nice; but if art doesn’t communicate, then its worth is negated. It has not fulfilled its destiny.”


Well said! Pop music needs more defenders like this.
Complexity does not make music, musical. Music has magic when the melody works in harmony with the rhythm. Some of the simplest music is the most moving. It's usually egotists like Wynton Marsalis, who lack a sense of melody, that demand complexity as the standard for music.

[ame=http://www.youtube.com/watch?v=Pv8fLWos_-Y]George Duke Electric "Cravo E Canela/Geneva" Live At Java Jazz Festival 2011 - YouTube[/ame]
 
Complexity does not make music, musical. Music has magic when the melody works in harmony with the rhythm. Some of the simplest music is the most moving. It's usually egotists like Wynton Marsalis, who lack a sense of melody, that demand complexity as the standard for music.

George Duke Electric "Cravo E Canela/Geneva" Live At Java Jazz Festival 2011 - YouTube


I agree, and would rather listen to Branford over Wynton any day.
Me too!
 

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